Debussy’s “Nocturnes” open the program, followed by MacMillan’s “Piano Concerto No. 3 — The Mysteries of Light.” Brahms’ “Symphony No. 4 in E minor” fills the second half.

The MacMillan concerto’s place on the program was specifically requested by Thibaudet, who premiered it in April 2011 with the Minnesota Orchestra.

“I give credit to Jean-Yves that he has taken the piece as his own and that he’s programming it and asking orchestras to program it for him,” Guerrero said. He referred to Thibaudet as “an old friend” of the symphony — Thibaudet selected the orchestra’s pianos, and then chose new ones after the May 2010 flood — and said he was happy to oblige the pianist’s suggestion.

Guerrero also felt the MacMillan concerto, which is based on the mysteries of the rosary, would demonstrate the symphony’s virtuosity.

“He’s one of my favorite composers, (his) music has a tendency to always have you on the edge of your seat,” Guerrero said. “Though there are moments in the piano concerto that are very calm and very soothing, you always feel that there’s a constant sense of danger and I think that’s what people are attracted to. There’s never a respite.”

The respite comes in the second half of the program via Brahms. Guerrero called it the “relief” after the MacMillan piece.

But before the turbulent MacMillan concerto and the rousing Brahms’ symphony, the audience will hear Debussy’s subtle and colorful “Nocturnes.” These three pieces were inspired by the visual art movement led by J.M.W. Turner and James McNeill Whistler.

The Nashville Symphony Chorus will sing the part of mythical sirens in Debussy’s “Nocturnes” Submitted Photo

“Debussy’s music is all about color. He truly uses the instruments in the orchestra as colors on a sonic canvas,” associate conductor Kelly Corcoran wrote in an email. “I am very interested in the combination of sounds that sometimes are muted, sometimes bright, sometimes faded or bold.”

Corcoran is serving as interim director of the Women of the Nashville Symphony Chorus, who will join the orchestra on the “Nocturnes.”

The women’s voices will mimic those of the mythological sirens who lured sailors to dangerous waters, Corcoran explained.

“The current plan is to have the women sitting within the orchestra in small groups, so their hypnotic song will mysteriously merge with the orchestral colors and textures and you will hear (them) coming from every corner of the orchestra,” she continued.

Rather than singing actual words, the chorus will sing “ah.” “Their musical lines are at times mesmerizing and hypnotic and at other moments playful and almost giddy,” Corcoran wrote.

“It’s one of the most interesting programs we’ve got this year,” Guerrero said. “Having the connection between the words ‘light’ and ‘nocturnes’ is a wonderful coincidence, but it’s an incredibly eclectic program.”